Born out of a relationship strengthened over thirteen years of collaboration between the Australian Art Orchestra (AAO) and Sruthi Laya Ensemble, The Chennai Tapes (Into the Fire) is an utterly stunning accomplishment. Built on the South Indian Carnatic tradition, the programme is interpreted by some of Australia’s leading jazz players under the direction of Adrian Sherriff to remarkable effect. The Chennai Tapes has already toured India a number of times, and the Sruthi Laya Ensemble has been a regular guest of AAO in Australia over the past few years. This performance, at the Melbourne Recital Centre, marks the release of the second album of The Chennai Tapes.

For those who are yet to experience the Melbourne Recital Centre, which opened in February 2009, please, don’t put it off any longer. The Elisabeth Murdoch Hall is just incredible; elegant, organic, intimate, and the quality of sound is considerably superior to what we are used to in Melbourne. In this performance, which is beautifully orchestrated, the acoustic clarity offered by this space was paramount. Every note had its own identity, not a moment was lost.

The Australian Art Orchestra, established in 1994, has a tradition of welcoming the music of the world into its small ensemble and reading it through a jazz veil. Reminiscent of John McLaughlin’s critically acclaimed Mahavishnu Orchestra of the 1970s, The Chennai Tapes is a wonderful exploration into the fusion of jazz with Indian influences. Both styles have an improvisational basis, however differences harmonically, and in rhythm and melody are great. Here, the works have been approached with open mindedness and a dedication to the craft of both disciplines that results in a truly exciting fusion.

It is clear that the collaboration between the Australian Art Orchestra and Sruthi Laya has come from a place of deep mutual respect and generosity. All the performers seem genuinely delighted to be a part of this magnificent association, and this really showed in this dynamic performance. To witness the energy that flowed between the musicians was thrilling, at times even rather amusing as challenges were thrown down via clever call and response. Each piece exudes a vibrancy that ripples through the audience, and the joy of being invited to join in something so special is a shared feeling between audience and performer. What heightens this sense of elation is the admiration every person in the room has for the leader of the Sruthi Laya Ensemble, Guru Kaaraikkudi Mani. Bringing the Mridangam (Southern Indian drum) to centre-stage, Kaaraikkudi Mani’s expressive style is captivating. An inspirational force in Carnatic music, Kaaraikkudi Mani has spent the last fifty years teaching his unique style to generations of musicians, shared performances with countless artists and audiences, and he has been involved in many collaborations. But there are no egos here, and ‘Mani Sir’ nestles himself into the warmth of a brilliant ensemble performance. The marriage of jazz and southern Indian classical found an eager audience in Melbourne last weekend, and I can’t wait for them to come back.

The Chennai Tapes (Into the Fire)
Australian Art Orchestra & Guru Kaaraikkudi Mani
Melbourne Recital Centre
11/10/2009